MBW Views is a collection of opinion pieces from influential figures in the music industry. The following op-ed is by Frederic Schindler, a music supervisor and founder of Too Young Ltd. and the licensing platform Catalog. He was recognized as the 2025 Music Supervisor of the Year by the Association of Independent Music.
In visual media, the concept of ‘free’ can be surprisingly costly, and its counterpart, ‘easy’, can be equally problematic.
Sync licensing involves finding, obtaining permission, and paying to pair music with visual content. It’s the music that enhances a film’s climax, powers an ad campaign, or accompanies a viral TikTok or video game moment. It’s the soundtrack of our digital lives.
For years, I’ve criticized the outdated sync system and the urgent need for its digitization. The current process involves gatekeeping, endless emails, and outdated methods, often resulting in missed opportunities.
This inefficiency has given rise to a billion-dollar industry of stock music and sound-alikes, offering convenience at a cost. For a small fee, users can access tracks without legal hassles, but this ease comes with hidden costs.
Financially, the stock music industry has grown to $1.3 billion and is projected to reach $2.8 billion by 2030. In contrast, the global record label industry earned just $650 million from sync last year.
Iconic artists like The Beatles and Beyoncé generate less revenue than music created for visual media, leading to a significant wealth shift from traditional music culture to platforms selling generic tracks.
Beyond revenue, subscription-based “royalty-free” platforms exploit artists, often requiring them to relinquish rights for one-time payments. This model turns music into a commodity, undermining the value of individual songs.
Every time a production opts for the easy route, it supports this exploitative system and takes away from the artists we admire.
Culturally, sync should drive discovery, introducing audiences to new artists and defining moments. Consider Kate Bush’s “Running Up That Hill” in Stranger Things, which revived a classic for a new generation.
However, much of today’s media is filled with generic music, missing opportunities for artistic discovery. This valuable cultural space is increasingly occupied by forgettable sound-alikes.
The future cost is even greater. With the rise of AI-generated music, the temptation to settle for mediocrity grows. This mindset devalues the creativity that makes music memorable.
I think of my young daughter and wonder if her generation will have defining musical anthems or just a stream of forgettable background music.
“As we stand on the precipice of an unregulated generative AI revolution, the path of least resistance becomes even more seductive.”
The traditional sync system is flawed, but abandoning artistry isn’t the answer.
The solution is to streamline the licensing process for real, culturally significant music. Technology should empower human creativity, not replace it.
We have a choice: continue down the path of convenience at the expense of revenue, culture, and creativity, or build a system that values music as more than a commodity. It’s a story, an experience, and a creation worth defending.
Music Business Worldwide
